Kelli Little

Checking to see if any special Horror screenings were taking place over Halloween, I was thrilled to find that The Electric in Birmingham (oldest working cinema in the UK) were holding a special "Cine-Excess" event in November, which would feature a double bill of attending directors Jen and Sylvia Soska, and Norman J. Warren.

After a memorable awards ceremony where the film makers got glass trophies,one of which broke in two after it slipped out of one of the Soska's hands. I got set for a rabid remake. View on the film: Mentioning in the pre-screening intro that before this project had landed on their desk they had actually started looking for none-movie related jobs, due to the "gross" factor of American Mary (2012-also reviewed) putting studios (such as The CW) off from hiring them, co-writers/ with John Serge) co-directors Jen and Sylvia Soska make a welcomed return to the big screen with a blend of gory Body Horror,and the clinical body modification art of American Mary. Closely working with cinematographer Kim Derko, the Soska's brush Rose's altered face with close-ups on the excellent practical effects. Changing the setting to the fashion industry, the Soska's & Derko stylishly use glass to reflect the pristine appearance of the fashion industry being torn to ribbons by gashes of pulpy gore seeping across the screen. Touching on American Mary's theme of people trying to be comfortable in their own skin, the screenplay by the Soska's and Serge twirl the rapid hunger of Cronenberg's Body Horror with a wonderfully rich cynical line of the fashion industry, where Rose (a terrific, breezy Laura Vandervoort) finds herself forced to having to dress to impress, even when a excellent sound design by Paula Fairfield crunches on the consuming infection rapidly changing Rose.

Rabid Movie watchers. Get a taste at that delicious overheated sand thats flattened to perfection. MMMMMMMMM TASTY. I was once a worker at PetSmart. When I got rabies. I chased and bitten my manager for calling me into work on my day off! ?. Rabid movie by david cronenberg. You sure its rabies and not distemper. Rabid movie chambers. Dark humor and a touch of gore? Ok im in. Right at the beginning of Funny Games, over helicopter shots of a family driving to their vacation, rendering the characters as distant ants for our observation, the soothing strains of classical music are replaced by the rabid thrashings of heavy metal, as a crude signifier that mayhem is about to take place. This is the exact level of sophistication and subtlety that the film will proceed to operate at for the next 110 gruelling minutes, and the sum total of its insight into the nature of screen violence (with one surprising exception) can be garnered at this point. Detailing the "story" of an upper middle class family held hostage and eventually killed (no spoilers, the film operates on the principle that the characters will all die), what has made Funny Games the target of equal derision and admiration is the decision to explicitly turn this into a condemnation of viewer voyeurism - achived by the effect of having the killers break the fourth wall and address us directly. The great Michael Haneke is a master of creeping ambiguity, of implying guilt in his characters that ranges from the deeply personal to practically international in concern. His characters are mysterious and not always accessible at first glance. They are often complicit in their own suffering, which Haneke's steady camera and precise craftmanship pulls us along in, for often disturbing journeys. So it's somewhat that the thematic density, ambiguity and strong characterizations which so elevate Haneke are completely absent from what is probably his most famous (and certainly his most notorious) work. This is all by design - the characters are ciphers, any attempt at a class analysis is precluded, suspense is averted by our knowledge that the killers will win, there is no insight to be gleaned from a class analysis like in Rabid Dogs or Last House on the Left, and the characterization of the killers results in Haneke's largest misstep. The killers are far too repellent to qualify as critiques of the glamorous evil the film seeks to condemn, while they fail as examples of morally degenerate humans for the simple reason that they aren't human - by interacting with the fourth wall and changing the actual narrative of the film by REWINDING THE MOVIE THEY ARE IN when it suits them at one point (one of the most indefensible thematic and directorial decision I can possibly imagine), they effectively set themselves up as near near omniscient beings from another universe that the viewer can neither be held complicit in for enjoying, nor can it be held as a realistic and humanist depiction of how such an event would occur. For all the trappings of generic thrillers that Haneke so scrupulously avoids - action movie heroics, a score, plot twists, etc. - in order to trap us in the reality of violence, his decision to make the villains self aware and explicitly "movie characters" shoots himself in the foot. If it's clearly not real, we're off the hook. This is not a complex portrayal of escapism, voyeurism or media or generic conventions complicity as Peeping Tom, Shadow of a Doubt, Rear Window, Scream. Henry etc. were. The entire entire crux of the film resides in the fact watching unpleasant violence is unpleasant, a point repeated ad nauseam throughout the running time. Fictional violence may probably be bad for us, but you'll never find out why watching this film. I'm reminded of Cronenberg's criticism of censorship, that censors assume the masses confuse fantasy and reality - something only psychotics do. This simplistic and surface value of violence would be acceptable if it were only a part of the movie, but here it's not even a theme - it's the whole enchilada. It might as well be conceptual art - how you feel after reading a review of this movie is no different than watching the blasted thing. Not only is this an ineffective missive against Tarantino and his ilk (if we're talking about the 97 one), or Saw et al (08) - it's by design considerably less sophisticated than even the worst of these would be by accident. There is one extraordinary ten minute sequence (told mainly in a single wide shot), where after the death of their child, the crippled husband is supported and comforted by his distraught wife. In this sequence, they stop being characters in a movie, and start becoming characters whose fates we empathize with, and whose living qualities make us ponder the morality of it all. And then Beevis and Butthead come in again. The irony is, Funny Games is probably the best example of a film it seeks to criticize. As an art film in the accepted sense of the word, and in terms of its own (condescendingly utilitarian) goals, it's an abject failure. But Haneke's craftsmanship and everyone's commited performance makes this a really brutal grindhouse flick. The offscreen violence means we can't even see a tell tale special effect to tell us its fake. Anyone who thought they were getting an art film was ripped off, but anyone looking for good old fashioned sadism found the motherlode. Funny Games was made due to Haneke's ire at the wave of "glamourized" American violent movies - and American is the key point here, since he felt compelled, in a truly extraordinary bad faith measure, to make a shot - by shot remake in English, in case anyone missed the obvious point (to paraphrase Oscar Wilde, to make Funny Games once is a tragedy, to do so twice looks like carelessness). Haneke's done other (much greater things), include the brilliant thriller Cache, and the weirdly spiritual post - apocalyptic tale Time of the Wolf. Yet, for some reason, he's still best known for an exploitation remake of Duck Amuck. Ratings: As an art film: 1/5 As a grindhouse movie: 4/5 (would be 5 if not for Tom and Jerry) As an enjoyable or edifying experience: 0/5 As craftsmanship: 8/5 Remake: 0/5, sight unseen (justification for rating something without having seen it? Well, for one thing it's the exact same movie, so we have seen it. The other reason is that it's fun to repay bad faith with bad faith).
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